巨乳娘战僵尸
巨乳娘战僵尸
蕾妮·哈蒙,Frank..
美国
2016
高素荣,姜声振,张熙珍..
韩国
2006
西奥·克里斯廷,索菲娅..
法国
2023
米娅·法罗,约翰·卡萨..
美国
1968
卡拉·坎普拉,Aina..
西班牙
2022
罗根·马歇尔-格林,坦..
美国
2015
酒井美纪,妻夫木聪,邑..
日本
2001
罗兰,施明,唐家辉,张..
中国香港
2002
樱庭奈奈美,高月彩良
日本
2010
乔伊·金,茱莉亚·古丹..
美国
2018
正片
主演:苍井空,かすみりさ,桜井まり
地区/年代:日本/2010
巨乳娘战僵尸
巨乳娘战僵尸
正片
主演:殷果儿,黄梓城,刘小奇,闫薇儿,宋嘉豪,孙文慧,曲馨雅,武朋,任青安,丁柯予
地区/年代:中国大陆/2017
恐怖电影院2
恐怖电影院2
HD
主演:王侠,凌波,李香君,林苏,孟莉,翟诺
地区/年代:香港/1969
裸血1969
裸血1969
HD
主演:夏望,张颖冰,玉米提,江依昊,马昂,罗钢,尼格买提
地区/年代:中国大陆/2021
歌声的翅膀
歌声的翅膀
TC
主演:卡莉·史派妮,戴维·荣松,阿奇·雷诺,伊莎贝拉·莫塞德,斯派克·费恩,吴爱玲,丹尼尔·贝茨,伊安·霍姆,特雷沃·纽林,罗伯特·勃洛克茨基,安妮玛丽·格里格斯,罗茜·伊德,索玛·西蒙,本斯·欧科克,维克托·欧利祖
地区/年代:美国,英国/2024
异形:夺命舰
异形:夺命舰
HD
主演:休·格兰特 / 索菲·撒切尔 / 克洛伊·伊斯特 / 艾尔·麦金农 / 卡罗琳·亚代尔 / 史蒂芬妮·拉文尼 / River Codack / Elle Young
地区/年代:美国/2024
异教徒2024
异教徒2024
HD
主演:Christophe Minie,Daisy Victoria Vandy
地区/年代:法国,比利时,利比里亚/2008
疯狗强尼
疯狗强尼
HD
主演:唐国强,李琳,马晓伟
地区/年代:中国大陆/1996
长征1996
长征1996
HD
主演:Alastair Gamble ... Steve,Jeremy Beland ... Ben,Trevor Gemma ... Patrick
地区/年代:加拿大/2008
保龄球
保龄球
正片
主演:斯考特·钱伯斯,塔鲁拉·埃文斯,瑞安·奥利瓦,Lewis Santer,Eddy MacKenzie,Marcus Massey,彼得·德索萨,西蒙·卡洛,亚力克·纽曼,Thea Evans,尼科拉·赖特,特蕾莎·班纳姆,Flynn Gray,Tade Adebajo,Nichaela Farrell,Flynn Matthews,Thanael Weeks,Joshua Osei,Sam Bar
地区/年代:美国/2024
小熊维尼:血染蜂蜜2
小熊维尼:血染蜂蜜2
ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout.
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